I like working with sound; sound and rhythm. I like the abstract more than "What does that mean?" Nobody ever says to you, "Why did you use a harmonium?" Or "What is that ringing sound that occurs here?" The questions are always "What does that song mean?" or "What were you trying to say here?"
Brian Eno records and music became a huge obsession of mine in college, in a way that a pop song can provide solace. I don't know if it's shallow or silly, but it meant so much to me.
'Sugarcoat the Galaxy' is inspired by color-inflected photographs of galaxies. It likens sounds to spun sugar and confection, wrapping static harmonies inside energy and pace.
Brian Eno records and music got me through. It made me feel like there were other people out there who had the same questions and fears and unhappiness. Particularly those kinds of artists who were writing songs about exactly those things.
I suppose I was affected by raw sounds and timbres more than a lot of other composers. Had I been involved with orchestral composing, I think the aspect that would have most endeared me to that field would have been the orchestration.
A lot of my favourite songs have Eno involved, but I love the work he does on the first two Roxy Music albums. He's creating atmospheres as opposed to composition, and it's a beautiful mixture with everything else in that band.
The Knife can't stop cloaking brilliant pop songs in voodoo jam blankets.
The SynthAxe enables you to achieve a whole world of sonic textures that you cannot get with a guitar. There was nothing like it before and nothing like it since.
